The Stanislavsky System's Areas of Concern

The purpose of the research is to identify the areas of concern of the Stanislavsky system, upon which the actors of the theatre and cinema master their professional skills. The research methodology is to apply analytical and logical approaches to understanding the basic techniques of psychotechnics of the theatre and cinema method’s actors. The research uses a comparative analysis of the professional and ordinary life of an actor. The basis of this comparison is the aspect of the actor’s activity as man of art. Scientific novelty. An analytical “revision” of the basic principles of Stanislavsky’s system has been carried out, on the basis of which the actors of theatre and cinema master the professional skills. It is established that the techniques that actors use to perform life in a role are not effective enough, as mistakenly taken by Stanislavsky from real life experience. The historical reasons for this borrowing are revealed and the shortcomings of these techniques of psychotechnics are indicated. The ways of improving the skill of the actor are indicated. Conclusions. The inner life of the actor in a role differs from the same life as an ordinary person. There is formal similarity in both of the lives. There are differences between the approach to creating a state of drama in the role according to K. Stanislavsky’s system and the method of M. Chekhov, who insisted that actor’s feelings and emotions differ from life. The mechanism of excitement of acting experience in the role, among other things, is most influenced by the skill of the actor’s representation of the character’s outer life. However, there is no question of such skill in the system of Stanislavsky, but only the inner life of man is considered, on which analysis the method have been developed. This is the greatest mistake of Stanislavsky.